All things related to the development of a practitioners critical and analytical listening skills of music and sonic qualities
This blog is a continuation of a series. See here for the previous blog. (AE Project Studio 2015) Current stock My current studio and live microphone stocks a modest range of dynamic microphones, dynamic ribbons, condensers, tubes and contact microphones. The range of microphones include: Shure 57s, 58s, Beta52As & SM7Bs; Electro Voice RE20s; Sennheiser e935s, e945s, e906s &...
As I introduced in my blogs Critical listening part 2a & b [March 2015], aspiring audio engineers need to proactively and diligently develop their Critical Listening skills with regular and disciplined critical listening practice sessions. It will take time, practice and considerable dedication to learn to listen for the nuances of the cultural production – the genre, musical...
Critical Listening task As I introduced in my Critical Listening Part 2a blog yesterday [March 2015], the reference track I am going to critically listen to today is: “The Real Thing” written by Johnny Young, performed by Russell Morris, produced by Ian ‘Molly’ Meldrum. Released in 1969 in Australia under the label of EMI/Columbia , it was...
(AE 2015a) Critical and analytical listening is a skill that separates the experienced audio engineer – particularly mix and mastering engineers – and aspiring engineers. Over the next six months I will cover theory and tasks for aspiring engineers to develop their critical & analytical listening skills. As part of that process, I introduce a task...
(The Jury Expert 2015) Critical listening, the ability to hear musically and sonically – technically, is an essential attribute of a music producer. “Listening skills need to be developed … to function in their job. …”....
(Australia Post stamp 1998) This blog is a continuation of a series. See here for the previous blog. A significant influence A song that had a significant influence on my music practice in my formative years...
“Music is in life. It occurs everywhere – at any moment in time, in every place” (Page 2010) Continuing on from last month’s Cultural Production Project – Part 2 [February 2010], I will focus this month on the actual project of fusing together three musical styles to create a soundscape that expresses myself musically and sonically. Aim...
“Music is in life. It occurs everywhere – at any moment in time, in every place” (Page 2010) Continuing on from last month’s Cultural Production Project – Part 1 [January 2010], I will focus this month on a description and analysis of the three musical styles that I am choosing to fuse together in this creative...
“Music is in life. It occurs everywhere – at any moment in time, in every place” (Page 2010) Aim and Objective for this Project The aim of this project is to refocus on a creative production project that allows me to create a natural musical style and arrangement. The objective of this project is two-fold:...